Zhangara Dadebayev and Akerke Battalova

Doctor of philological sciences, professor, scientific advisor

2^nd year master’s student on specialty “Translation studies”

Al-Farabi Kazakh National University, Kazakhstan, 050038, Almaty, al-Farabiave., 71

The semantic and structural system of the poem and its reproduction in the translation (based on Abay Kunanbayev’s poetry)

Poetry is rarely a focus of linguistic investigation. This is far from surprising, as poetic language, especially in modern and contemporary literature, seems to defy the general rules of syntax and semantics. This paper assumes, however, that linguistic theories should ideally be able to account for creative uses of language, down to their most difficult incarnations. It proposes that at the semantic level, what distinguishes poetry from other uses of language may be its ability to trace conceptual patterns which do not belong to everyday discourse but are latent in our shared language structure.

Poetry is essentially an expression of feelings. Ability to feel is a human trait. We all have feelings. However, ability to express the feelings in a manner that other people can identify and relate to those feelings requires artistic skills. That is what distinguishes a great poet from the rest of us. It is not really possible to pinpoint a precise system or algorithm that would raise a piece of text to the higher level of a good poem. However, certain rules of structure and composition have been developed over the years that can make a text rhythmic and lyrical, which are important ingredients of poetry.

Literary heritage of AbayKunanbayev consists of many lyric poems, literary works, his «Kara Sozder» [Book of Words] (prose) – the philosophical essays and translations. Abay’s poetry has rich content, it is distinguished by problematic themes.His poems were written about social-political themes, satirical poems, philosophical reflections, pastoral poetry, poems about love, friendship, science and etc. Abay’s lyric acquaints us with his reflections about life, the human happiness, his moral ideas.Abay'smoralRef and ethical views were not just a figment of his imagination over the observation of life and social system of Kazakhs.

Versification constitutes the essential aspect of Abay’s poetry. This is the reason why researchers focus on peculiarities of poetries, they also appreciate it’s role in enriching and improving the Kazakh poetry.

Abay’s works were considered in articles and researches of M.Auezov, S.Mukanov, I.Dzhansugurov, M.S.Silchenko, X. Djumalieva, E. Ismailov, B. Kenjebayeva and others. They focused on problems of studying versifications of Abay, also they made essential observations, regarding Abay’s versification technics.StudyingAbay’s poetry has an essential role in understanding of poet’s creation, as well as problems of poetic innovation in the Kazakh literature.

We have to note that until the revolution, in Kazakh literature poetry predominated the prose, and principles of realism were approved in the field of poetry art. Consequently, new forms of literature and literary language have been developed in the poetry field. Thus, the struggle for the creation of a qualitatively new literature, which reflected the contemporary issues of social life, included the struggle for the development of new poetry forms in the literature for the development of poetic style and versification. Work on the poetry of Abay has been associated with the development of new forms of the genre, with efforts to upgrade Kazakh poetic language. And this direction of searches Abay in the art form of poetry and was closely associated with the general orientation of his realistic art.

Abay gave substantive expression of his innovative ideas, thoughts and feeling, and when he used the known sizes and forms of verses. Many of his works were written in eleven-syllable line – one of the ordinary Kazakh syllabic versification sizes. It should be noted that he used only favorite in the Kazakh folk poetry variant of this size, where each verse has four-syllable ending. Another variant of this size with the end in three syllables became widely used in poetry only in the Soviet era.

For instance, the size of poem «Бай сейілді» («Звереет бай»):

Бай сейілді,                                     4 syllables

Бір бейілді,                                     4 syllables

Елде жақсы қалмады,  4 syllables + 3 syllables

Елдег (і) еркек                       4 syllables

Босқа селтек                                    4 syllables

Қағып, елін қармады.  4 syllables+ 3 syllables

Also , in the translation we can see the rhythm sequence and poems combination in verse (P.Caraban’s translation):

Звереет бай,

Скудеет край

Людьми с хорошею душой.

Правитель тут –

Презренный плут,

Народ обирает свой.

The peculiarity of this poetic form is a combination of short and long lines. In essence, in this translation seven-eight syllabic version was modified, in which lines of eight syllables consist of two parts quadrisyllabic.We can therefore say that the short poems in four syllables formed from hemistichs.

Abay is not just handed down in separate lines the foursyllabic parts of each eightsyllabic verse, each line consist of separate phrases or sentences. Rhyme has a special significance in the poem, it establishes a rhythmic pattern of verse, which is the originality combined - and, we must say, is quite unusual - short verses long.

We must also notice that verse reflects the affluence and flexibility of a simple conversation. In each line - new phrase or sentence. All this show that the desire of the poet to the rhythmic diversity suggests the richness of the content of his works.

Ата-анаға көз қуаныш          4 syllables + 4 syllables

Алдын(а) алған еркесі,                  4 syllables + 3 syllables

Көкрегіне көп жұбаныш,               4 syllables + 4 syllables

Гүлденіп ой өлкесі                          4 syllables + 3 syllables

Еркелік кетті,                         3 syllables + 2 syllables

Ержетті,                       3 syllables

Не бітті?!                      3 syllables

Отца и матери услада,

Лелеемый от нежных лет,

Ты был им большая отрада

Чем солнца свет и вешний цвет.

Но детство пролетает.

Сынок подрастает,

Да только проку нет.

In this work, easy rhythm of size with changes of rhythmic flow of speech appropriate intonation and overall emotional tone of the verse. In this point of view, M.S.Silchenko wrote that: “The last three lines of each strophe of the verse «Утешениеотцу и матери» (“Consolation for parents”) also due to its melody. It is, like several other poems of the poet, spread and came to us with his melodies and three concluding strophes”. In Russian translation the feature of verse’s rhythm don’t transfer, also the meaning and the tone of the verse freely reproduced.

In conclusion, we may say that Abay made a radical reform in the Kazakh versification, has directed Kazakh poetry to the poetic innovation, he proved the significance and importance of the poetic innovation for the development of the poetic culture of the people. Poetic sizes, forms of strophes and rhymes, techniques and methods of versification, which were demonstrated by Abay, widely used in the Kazakh literature, especially in the modern literature. In this sense, the creativity of Abay marked the beginning of a new stage in the development of Kazakh poetry.

References:

1. The semantics of poetry: a distributional reading Aur´elieHerbelot University of Cambridge, Computer Laboratory J.J. Thomson Avenue, Cambridge CB1 8AZ United Kingdom, February 2, 2014

2. R. Studying heritage Abay at the beginning of the XX century // Kazakhstan Today. - 1995 - 26 iyulya.- C.8

3. Kalmyrzaev AS Aesthetic in the works Abay.- Almaty Kazakhstan, 1979 - 160 p

4. M.O.Auezov: Collection of articles to his sixtieth birthday - Alma-Ata Univ. Academy of Sciences of the Kazakh. SSR 1959.- 255 p.

5. D.A.Kunaev “MukhtarAuezov and Russian literature”. - Alma-Ata: Rauan, 1992.- 96 p.

6. Tayzhanov A.T.“MO Auezov– thinker”.-Alma-Ata: Gylym, 1991 - 167 p.

7. Myrzahmetuly M. “Climbing Auezov to Abay”. - Almaty: Sanat, 1994 - 317 p.